Saturday, October 15, 2005

Dead Poets Society

"Gather ye rosebuds while ye may, old time is still a flying, and this same flower that smiles today, tomorrow will be dying."

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Thank you Mr. Dalton. Armies of academics going forward, measuring poetry. No, we will not have that here. No more of Mr. J. Evans Pritchard. Now in my class you will learn to think for yourselves again. You will learn to savor words and language. No matter what anybody tells you, words and ideas can change the world. I see that look in Mr. Pitt's eye, like nineteenth century literature has nothing to do with going to business school or medical school. Right? Maybe. Mr. Hopkins, you may agree with him, thinking "Yes, we should simply study our Mr. Pritchard and learn our rhyme and meter and go quietly about the business of achieving other ambitions." I have a little secret for ya. Huddle up. Huddle up!

The boys get up from their seats and gather around Keating in the centerof the class.

KEATING We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. Medicine, law, business, engineering, these are all noble pursuits, and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for. To quote from Whitman: "O me, o life of the questions of these recurring, of the endless trains of the faithless, of cities filled with the foolish. What good amid these, o me, o life? Answer: that you are here. That life exists, and identity. That the powerful play goes on, and you may contribute a verse. That the powerful play goes on and you may contribute a verse.

Keating looks up at Todd.

Keating What will your verse be?

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MCALLISTER Quite an interesting class you gave today, Mr. Keating.

KEATING I'm sorry if I shocked you, Mr. McAllister.

MCALLISTER Oh, there's no need to apologize. It was very fascinating, misguided though it was.

KEATING You think so?

MCALLISTER You take a big risk by encouraging them to be artists John. When they realize they're not Rembrandts, Shakespeares or Mozarts, they'll hate you for it.

MCALLISTER (taken aback by the comment) Not a cynic, a realist. Show me the heart unfettered by foolish dreams, and I'll show you a happy man.

KEATING But only in their dreams can man be truly free. 'Twas always thus, and always thus will be.

MCALLISTER Tennyson?

KEATING No, Keating.

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KEATING The Dead Poets were dedicated to sucking the marrow out of life. That's a phrase from Thoreau that we'd invoke at the beginning of each meeting. You see we'd gather at the old Indian cave and take turns reading from Thoreau, Whitman, Shelley; the biggies. Even some of our own verse. And in the enchantment of the moment we'd let poetry work its magic.

KNOX You mean it was a bunch of guys sitting around reading poetry?

KEATING No Mr. Overstreet, it wasn't just "guys", we weren't a Greek organization, we were romantics. We didn't just read poetry, we let it drip from our tongues like honey. Spirits soared, women swooned, and gods were created, gentlemen, not a bad way to spend an evening eh? Thank you Mr. Perry for this trip down amnesia lane. Burn that, especially my picture.

NEIL Welton chapter. The meetings will be conducted by myself and the other new initiates now present. Todd Anderson, because he prefers not to read, will keep minutes of the meetings. I'll now read the traditional opening message by society member Henry David Thoreau. "I went to the woods because I wanted to live deliberately. I wanted to live deep and suck out all the marrow of life."

CHARLIE I'll second that.

NEIL "To put to rout all that was not life, and not, when I had come to die, discover that I had not lived.

Several boys whistle softly in reaction to the poem.

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PITTS "In a mean abode in the shanking road, lived a man named William Bloat. Now, he had a wife, the plague of his life, who continually got his goat. And one day at dawn, with her nightshift on, he slit her bloody throat."

NEIL Alfred Lord Tennyson. Come my friends, 'Tis not too late to seek a newer world for my purpose holds to sail beyond the sunset. And though we are not now that strength which in old days Moved earth and heaven; that which we are, we are;-- One equal temper of heroic hearts, Made weak by time and fate, but strong in will. To strive, to seek, to find, and not to yield.

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The students are all back in their normal seats and Keating leapsup onto his desk.

KEATING Why do I stand up here? Anybody?

CHARLIE To feel taller.

KEATING No!Keating rings the bell on his desk with his foot

KEATING Thank you for playing, Mr. Dalton. I stand upon my desk to remind yourself that we must constantly look at things in a different way.

Keating glances around the classroom from atop the desk.

KEATING You see, the world looks very different from up here. You don't believe me? Come see for yourself. Come on. Come on!

Charlie and Neil quickly rise from their seats to go to the frontof the classroom. The rest of the class follows them. While Keatingcontinues speaking, Neil and Charlie join him on the desk and thenKeating jumps down.

KEATING Just when you think you know something, you have to look at it in another way. Even though it may seem silly or wrong, you must try! Now, when you read, don't just consider what the author thinks. Consider what you think.

KEATING Boys, you must strive to find your own voice. Because the longer you wait to begin, the less likely you are to find it at all. Thoreau said, "Most men lead lives of quiet desperation." Don't be resigned to that. Break out!

Keating notices Spaz and another boy leaving the desk immediately.

KEATING Don't just walk off the edge like lemmings. Look around you.

The school bell rings as the boys continue to climb onto the desk.Keating begins to gather up his stuff. The clock begins to toll asKeating walks to the back of the class.

KEATING There! There you go, Mr. Priske. Thank you! Yes! Dare to strike out and find new ground. Now, in addition to your essays, I would like you to compose a poem of your own, an original work.

The students begin to groan. Keating begins flickering the lightsoff and on while chanting ominously.

KEATING That's right! You have to deliver it aloud in front of the class on Monday. Bonne chance, gentlemen.

Keating steps out into the hall before quickly peeking back in once again.Todd is the last one to stand on the desk and is about to jump off.

KEATING Mr. Anderson? Don't think that I don't know that this assignment scares the hell out of you, you mole.

Keating flicks the light off, leaving Todd to jump down in the darknessas the students laugh.

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EIL So, I'm gonna act. Yes, yes! I'm gonna be an actor! Ever since I can remember, I've wanted to try this. I even tried to go to summer stock auditions last year, but, of course, my father wouldn't let me. For the first time in my whole life I know what I wanna do.

Neil grabs a handful of papers off Todd's bed and tosses them intothe air.

NEIL and for the first time I'm gonna do it whether my father wants me to or not! Carpe diem!

TODD Neil, Neil, hold on a minute. How are you gonna be in a play if your father won't let you?

NEIL First I gotta get the part, then I can worry about that.

TODD Yeah, but won't he kill you if he finds out you went to an audition and didn't even tell him?

NEIL No, no, no, no. As far as I'm concerned, he won't have to know about any of this.

TODD Well, that's impossible.

NEIL Bullshit! Nothing's impossible.

TODD Well, why don't you just call him and ask him? And m-maybe he'll say yes.

NEIL That's a laugh!

Neil tosses the blanket back onto his bed.

NEIL If I don't ask him, at least I won't be disobeying him.

TODD Yeah, but if he said--

NEIL (shouting angrily) Jesus, Todd! Whose side are you on?

Todd says nothing. Neil looks at him for a moment and then takesthe flyer back from Todd. He walks over to the window, his excitement gone.

NEIL I mean, I haven't even gotten the part yet. Can't I even enjoy the idea for a little while?

Once again, Todd says nothing. After a moment, Neil sits on theheater and Todd returns to his poem.

NEIL You're coming to the meeting this afternoon?

TODD I don't know. Maybe.

NEIL Nothing Mr. Keating has to say means shit to you, does it, Todd?

TODD W-What is that supposed to mean?

NEIL You're in the club! Being in the club means being stirred up by things. You look about as stirred up as a cesspool.

Neil gets up from the window and stands over Todd.

TODD So- You want me out?

NEIL No! I want you in, but being in means you gotta do something. Not just say you're in.

TODD Well, listen, Neil. I-I appreciate this concern, but I-I'm not like you. All right? You, you, you say thing and people listen. I'm, I'm not like that.

NEIL Don't you think you could be?

TODD No! I--I, I don't know, but that's not the point. The, the, the point is that there's nothing you can do about it, so you can just butt out. I can take care of myself just fine. All right?

NEIL No.

TODD What do you mean, "no"?

A smile comes to Neil's face.

NEIL No.

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KEATING Now, devotees may argue that one sport or game is inherently better than another. For me, sport is actually a chance for us to have other human beings push us to excel. I want you all to come over here and take a slip of paper and line up single file.

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"Oh to struggle against great odds. To meet enemies undaunted."

"To be a sailor of the world, bound for all ports."

"Oh, I live to be the ruler of life, not a slave."

"To mount the scaffolds. To advance to the muzzle of guns with perfect nonchalance."

"To dance, clap hands, exalt, shout, skip, roll on, float on."

"Oh, to have life henceforth the poem of new joys."

"To indeed be a god!"

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KNOX (quietly) "To Chris."

Charlie looks up from his desk with a grin.

BOY 1 Who's Chris?

BOY 2 Mmm, Chris.

KNOX I see a sweetness in her smile. Blight light shines from her eyes. But life is complete; contentment is mine, Just knowing that...

Several students begin to snicker.

KNOX just knowing that she's alive.

Knox crumples his poem and walks back to his desk.

KNOX Sorry, Captain. It's stupid.

KEATING No, no. It's not stupid. It's a good effort. It touched on one of the major themes, love. A major theme not only in poetry, but life. Mr. Hopkins, you were laughing. You're up.

Hopkins slowly walks to the front of the class and unfoldshis piece of paper.

HOPKINS "The cat sat on the mat."

KEATING Congratulations, Mr. Hopkins. Yours is the first poem to ever have a negative score on the Pritchard scale. We're not laughing at you, we're laughing near you. I don't mind that your poem had a simple theme. Sometimes the most beautiful poetry can be about simple things, like a cat, or a flower or rain. You see, poetry can come from anything with the stuff of revelation in it. Just don't let your poems be ordinary. Now, who's next?

Keating approaches Todd's desk.

KEATING Mr. Anderson, I see you sitting there in agony. Come on, Todd, step up. Let's put you out of your misery.

TODD I, I didn't do it. I didn't write a poem.

KEATING Mr. Anderson thinks that everything inside of him is worthless and embarrassing. Isn't that right, Todd? Isn't that your worst fear? Well, I think you're wrong. I think you have something inside of you that is worth a great deal.

Keating walks up to the blackboard and begins to write.

KEATING "I sound my barbaric yawp over the rooftops of the world." W. W. Uncle Walt again. Now, for those of you who don't know, a yawp is a loud cry or yell. Now, Todd, I would like you to give us a demonstration of a barbaric "yawp." Come on. You can't yawp sitting down. Let's go. Come on. Up.

Todd reluctantly stands and follows Keating to the front.

KEATING You gotta get in "yawping" stance.

TODD A yawp?

KEATING No, not just a yawp. A barbaric yawp.

TODD (quietly) Yawp.

KEATING Come on, louder.

TODD (quietly) Yawp.

KEATING No, that's a mouse. Come on. Louder.

TODD Yawp.

KEATING Oh, good God, boy. Yell like a man!

TODD (shouting) Yawp!

KEATING There it is. You see, you have a barbarian in you, after all.

Todd goes to return to his seat but Keating stops him.

KEATING Now, you don't get away that easy.

Keating turns Todd around and points out a picture on the wall.

KEATING The picture of Uncle Walt up there. What does he remind you of? Don't think. Answer. Go on.

Keating begins to circle around Todd.

TODD A m-m-madman.

KEATING What kind of madman? Don't think about it. Just answer again.

TODD A c-crazy madman.

KEATING No, you can do better than that. Free up your mind. Use your imagination. Say the first thing that pops into your head, even if it's total gibberish. Go on, go on.

TODD Uh, uh, a sweaty-toothed madman.

KEATING Good God, boy, there's a poet in you, after all. There, close your eyes. Close your eyes. Close 'em. Now, describe what you see.

Keating puts his hands over Todd's eyes and they begin to slowlyspin around.

TODD Uh, I-I close my eyes.

KEATING Yes?

TODD Uh, and this image floats beside me.

KEATING A sweaty-toothed madman?

TODD A sweaty-toothed madman with a stare that pounds my brain.

KEATING Oh, that's excellent. Now, give him action. Make him do something.

TODD Y-Y-Y-You push it, stretch it, it'll never be enough. You kick at it, beat it, it'll never cover any of us. From the moment we enter crying to the moment we leave dying, it will just cover your face as you wail and cry and scream.

Todd opens his eyes. The class is silent. Then they begin to clapand cheer.

KEATING (whispering to Todd) Don't you forget this.

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The students are standing in a line while Cameron, Pitts, and Knoxare walking in a circle. Keating watches as they go around.

KEATING No grades at stake, gentlemen. Just take a stroll.

After a few moments, the three boys begin to march to the same beat.

KEATING There it is.

The other boys start clapping to the rhythm of their steps.

KEATING I don't know, but I've been told--

BOYS I don't know, but I've been told--

KEATING Doing poetry is old--

BOYS Doing poetry is old--

Mr. Nolan looks out at them from his office as Keating joins theboys and begins marching with them.

KEATING Thank you, gentlemen. If you noticed, everyone started off with their own stride, their own pace.

Keating begins walking very slowly.

KEATING Mr. Pitts, taking his time. He knew he'll get there one day. Mr. Cameron, you could see him thinking, "Is this right? It might be right. It might be right. I know that. Maybe not. I don't know."

Keating begins walking with his groin pushed forward.

KEATING Mr. Overstreet, driven by deeper force. Yes. We know that. All right. Now, I didn't bring them up here to ridicule them. I brought them up here to illustrate the point of conformity: the difficulty in maintaining your own beliefs in the face of others. Now, those of you -- I see the look in your eyes like, "I would've walked differently." Well, ask yourselves why you were clapping. Now, we all have a great need for acceptance. But you must trust that your beliefs are unique, your own, even though others may think them odd or unpopular, even though the herd may go, "That's baaaaad." Robert Frost said, "Two roads diverged in a wood and I, I took the one less traveled by, and that has made all the difference." Now, I want you to find your own walk right now. Your own way of striding, pacing. Any direction. Anything you want. Whether it's proud, whether it's silly, anything. Gentlemen, the courtyard is yours.

The students begin walking about, some walking casually, othersmaking up silly walks. Keating notices that Charlie is stillleaning up against one of the pillars.

KEATING You don't have to perform. Just make it for yourself. Mr. Dalton? You be joining us?

CHARLIE Exercising the right not to walk.

KEATING Thank you, Mr. Dalton. You just illustrated the point. Swim against the stream.

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CHARLIE Guys, I have an announcement to make. In keeping with the spirit of passionate experimentation of the Dead Poets, I'm giving up the name Charlie Dalton. From now on, call me Nuwanda.

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NEIL You kicked out?

CHARLIE No.

NEIL So what happened?

CHARLIE I'm to turn everybody in, apologize to the school and all will be forgiven.

NEIL So, what are you gonna do? Charlie!

CHARLIE Damn it, Neil. The name is Nuwanda.

Charlie smiles and then shuts his door.

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MR. NOLAN This was my first classroom, John. Did you know that? My first desk.

KEATING Didn't know you taught, Mr. Nolan.

MR. NOLAN English. Oh, long before your time. It was hard giving it up, I can tell you. I'm hearing rumors, John, about some unorthodox teaching methods in your classroom. I'm not saying they've anything to do with the Dalton boy's outburst. But I don't think I have to warn you boys his age are very impressionable.

KEATING Well, your reprimand made quite an impression, I'm sure.

MR. NOLAN What was going on in the courtyard the other day?

KEATING Courtyard?

MR. NOLAN Yeah. Boys marching, clapping in unison.

KEATING Oh, that. That was an exercise to prove a point. Dangers of conformity.

MR. NOLAN Well, John, the curriculum here is set. It's proven it works. If you question, what's to prevent them from doing the same?

KEATING I always thought the idea of educating was to learn to think for yourself.

MR. NOLAN At these boys' ages? Not on your life! Tradition, John. Discipline. Prepare them for college, and the rest will take care of itself.

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CHARLIE Mr. Keating.

KEATING Mr. Dalton. That was a pretty lame stunt you pulled today.

CHARLIE You're siding with Mr. Nolan? What about Carpe diem and sucking all the marrow out of life and all that?

KEATING Sucking the marrow out of life doesn't mean choking on the bone. Sure there's a time for daring and there's a time for caution, and a wise man understands which is called for.

CHARLIE But I thought you'd like that.

KEATING No. You being expelled from school is not daring to me. It's stupid, 'cause you'll miss some golden opportunities.

KEATING Phone call from God. If it had been collect, it wouldn't been daring.

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Neil opens the door to his room and sees his father sitting at his desk.

NEIL Father.

MR. PERRY Neil.

NEIL Wait a minute. Before you say anything, please let me ex-

Mr. Perry rises from the desk.

MR. PERRY Don't you dare talk back to me! It's bad enough that you've wasted your time with this, this absurd acting business. But you deliberately deceived me! How, how, how did you expect to get away with this? Answer me. Who put you up to it? Was it this new man? This, uh, Mr. Keating?

MR. PERRY Did you think I wasn't going to find out? "Oh, my niece is in a play with your son," says Mrs. Marks. "No, no, no," I say, "you must be mistaken. My son's not in a play." You made me a liar of me, Neil! Now, tomorrow you go to them and you tell them that you're quitting.

NEIL No, I can't. I have the main part. The performance is tomorrow night.

MR. PERRY I don't care if the world comes to an end tomorrow night. You are through with that play. Is that clear? Is that clear?

NEIL Yes, sir.

Mr. Perry goes to leave and then turns around.

MR. PERRY I made a great many sacrifices to get you here, Neil, and you will not let me down.

NEIL No, sir.

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Keating is seated at his desk. He is writing a letter and occasionallylooks up at the framed photo on his desk of a woman playing the cello.There is a knock at the door.

KEATING It's open.

Neil enters and closes the door behind him. He appears to be nervous.

KEATING Neil, what's up?

NEIL Can I speak to you a minute?

KEATING Certainly. Sit down.

Neil goes to take a seat but notices the chair is piled up with books.Neil picks them up and Keating gets up from his seat to help him.

NEIL I'm sorry. Here.

KEATING Excuse me. Get you some tea?

NEIL Tea. Sure.

Keating goes to a table in the corner and begins pouring several cups.

Keating gives Neil a cup of tea and they return to their seats. Neillooks at the photo on the desk.

NEIL She's pretty.

KEATING She's also in London. Makes it a little difficult.

NEIL How can you stand it?

KEATING Stand what?

NEIL You can go anywhere. You can do anything. How can you stand being here?

KEATING 'Cause I love teaching. I don't wanna be anywhere else.

KEATING What's up?

NEIL I just talked to my father. He's making me quit the play at Henley Hall. Acting's everything to me. I-- But he doesn't know. He-- I can see his point. We're not a rich family like Charlie's, and we-- But he's planning the rest of my life for me, and I-- H-He's never asked me what I want.

KEATING Have you ever told your father what you just told me? About your passion for acting. You ever show him that?

NEIL I can't.

KEATING Why not?

NEIL I can't talk to him this way.

KEATING Then you're acting for him, too. You're playing the part of the dutiful son. I know this sounds impossible, but you have to talk to him. You have to show him who you are, what your heart is.

NEIL I know what he'll say. He'll tell me that acting's a whim, and I should forget it. That how they're counting on me. He'll just tell me to put it out of my mind, "for my own good."

KEATING You are not an indentured servant. If it's not a whim for you, you prove it to him by your conviction and your passion. You show him that And if he still doesn't believe you, well, by then you'll be out of school and you can do anything you want.

A tear falls down Neil's cheek and he wipes it away.

NEIL No. What about the play? The show's tomorrow night.

KEATING Well, you have to talk to him before tomorrow night.

NEIL Isn't there an easier way?

KEATING No.

NEIL I'm trapped.

KEATING No, you're not.

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MR. PERRY We're trying very hard to understand why it is that you insist on defying us. Whatever the reason, we're not gonna let you ruin your life. Tomorrow I'm withdrawing you from Welton and enrolling you in Braden Military School. You're going to Harvard and you're gonna be a doctor.

NEIL But that's ten more years. Father, that's a lifetime!

MR. PERRY Oh, stop it. Don't be so dramatic. You make it sound like a prison term. You don't understand, Neil. You have opportunities that I never even dreamt of and I am not going to let you waste them.

Neil rises to his feet.

NEIL I've got to tell you what I feel.

Mrs. Perry stands up.

MRS. PERRY We've been so worried about--

MR. PERRY What? What? Tell me what you feel. What is it?

Neil looks to his mother and then back to his father but saysnothing.

MR. PERRY Is it more of this, this acting business? Because you can forget that. What?

NEIL Nothing.

Neil sits back down dejectedly.

MR. PERRY Nothing? Well, then, let's go to bed.

Mr. Perry leaves. Mrs. Perry pauses on her way out and kneelsbehind Neil.

NEIL I was good. I was really good.

Mrs. Perry nods slightly. MRS. PERRY Go on, get some sleep.

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INT. NEIL'S BEDROOM - NIGHT

Neil's pyjamas, bathrobe, towel, and shaving kit are all neatlylaid out on his bed. Neil touches his pyjamas lightly and thenremoves his coat and shirt. He walks over to the windows andopens them, taking several deep breaths. He places the crown oftwigs on his head and then closes his eyes, slowly letting his headfall to his chest.

INT. HALLWAY - NIGHT

A door opens and Neil emerges, slowly walking down the stairs as ifin a trance.

INT. MR. PERRY'S STUDY - NIGHT

Neil holds a key in his hands. He unlocks a drawer in his father'sdesk and pulls out a pistol, wrapped in cloth.

INT. MR. PERRY'S BEDROOM - NIGHT

Mr. Perry jerks up out of bed, startled and breathing fast.

MR. PERRY What was that?

MRS. PERRY What?

MR. PERRY That sound.

MRS. PERRY What sound? Tom?

Mr. Perry turns on the light and gets up out of bed, putting on hisrobe and slippers. MRS. PERRY What is it? What's wrong?

Mr. Perry turns on the hallway light and knocks on Neil's door. He opensthe door and goes inside.

MR. PERRY Neil.

Mr. Perry notices the open window.

MRS. PERRY Tom, what is it? What's wrong? Neil?

Mr. Perry continues to look through the house, continuing downstairs.

MR. PERRY Neil?

Mr. Perry notices the door to his study is ajar.

MRS. PERRY I'll look outside. Neil?

Mr. Perry flicks the light on but sees nothing. Then he smellssomething. Looking closer, he sees a thin cloud of smoke rising frombehind his desk. As he moves around the desk he sees his gun on thefloor and Neil's outstretched hand.

Todd is sleeping. Charlie reaches across to wake him. Tears arerunning down his face.

CHARLIE Todd? Todd.

Todd, still half asleep, tries to shrug him off.

TODD Oh, Charlie.

Todd opens his eyes and sees Charlie's face

TODD What is it?

Todd looks over to see Pitts, Meeks, and Knox by the door.

CHARLIE Neil's dead.

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EXT. CAMPUS - DAY

It is a snowy, overcast morning. Todd walks through the snow. Hehas his coat on over his pyjamas. The other boys follow closelybehind him as he walks down towards the water. He stops and staresout at the snow-covered surroundings.

TODD It's so beautiful.

Todd begins to gag and then goes down on his knees, vomiting intothe snow. The other boys huddle around him, hugging him.

CHARLIE Todd. It's okay, Todd.

PITTS Calm down.

CHARLIE It's all right, Todd.

PITTS Todd, it's okay. It's okay, Todd.

CHARLIE It's all right. It's alright.

Charlie grabs a handful of snow and wipes Todd's mouth with it.

TODD He wouldn't-- He wouldn't have done it.

MEEKS You can't explain it, Todd.

TODD It was his father!

CHARLIE No!

TODD He wouldn't have left us. It's because he- He wouldn't have. His dad was-- his, his father did it.

CHARLIE Todd.

TODD His father killed him. He made him do it.

MEEKS You can't explain it, Todd.

Todd pushes himself away from the boys and stumbles down the hill,slipping and falling in the snow.

MEEKS Todd!

CHARLIE Leave him be.

The boys watch as Todd runs down towards the dock by the river,yelling and crying. He finally seems to regain control of himselfand walks in silence out onto the dock.

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Keating passes by Todd and the others and gets to the back of theclassroom before Todd leaps up from his seat and turns to face him.

TODD Mr. Keating! They made everybody sign it.

Mr. Nolan gets up from his desk and approaches Todd.

MR. NOLAN Quiet, Mr. Anderson.

TODD You gotta believe me. It's true.

KEATING I do believe you, Todd.

MR. NOLAN Leave, Mr. Keating.

TODD But it wasn't his fault!

MR. NOLAN Sit down, Mr. Anderson!

Todd reluctantly returns to his seat.

MR. NOLAN One more outburst from you or anyone else, and you're out of this school! Leave, Mr. Keating.

Keating hesitates at the back of the classroom.

MR. NOLAN I said leave, Mr. Keating.

Keating slowly turns and heads to the door. As he opensit, Todd, stands upon his desk and turns to Keating.

TODD O Captain! My Captain!

MR. NOLAN Sit down, Mr. Anderson!

Keating pauses at the door and looks back at Todd on his desk.

MR. NOLAN Do you hear me? Sit down! Sit down! This is your final warning, Anderson. How dare you? Do you hear me?

After a moment of indecision, Knox climbs up onto his desk.

KNOX O Captain! My Captain!

MR. NOLAN Mr. Overstreet, I warn you! Sit down!

Pitts climbs up onto his desk, followed by several others,including Meeks.